I am loving the the fast bundle. It really lives up to its name. One weird use I've found for the fast limiter is to put it on my vocal buss and use the resonance supressor to clean it up and the saturation to warm it up. It works great for that. I use TDR Limiter No.6 for my mastering limiter because I do mostly production. It's the lowest latency limiter I have been able to find and I need that so my workflow doesn't get interrupted by delayed playback while I'm producing.
This was a bit rushed for my tiny, inexperienced brain to follow completely; but there was enough there for me to see that this makes it very easy to do some things that I want to be doing! So, thank you very much! I'll look into it a bit more.
most important thing I care about when choosing a plugin is sound quality every other thing like AI, user interface and others should just be a compliment thanks for the videos❤️
@@DJayFreeDoo my *very 'limited'* understanding is that it is the best. But... idk. ProL2 is also very great. I am very curious about the new Fast Limiter and how it holds up among these...
@@DJayFreeDoo ....I know I really dig the intricate SEVERAL BAND transient adjusters AND it brings a lot of clarity at high levels with relative ease. L2 is extremely solid... but it's tough for me between those two. The multi (and I mean MANY multi) band transient adjustment alone is a CRAZY advantage.
I usually find myself reaching for a clipper or compressor rather than a limiter. It would be cool to see a good clipper that works similarly. I would like to see detailed tooltips explaining exactly what parameters are doing, or maybe a middle mouse button opening the manual for that specific thing. While I'm all for using AI stuff, I would like to understand exactly what it is doing so I can have a more precise level of control
Looks like a very cool limiter. I usually don't get excited about limiters but this one makes me want to check it out. Really like the payment plan to own.
That plugin looks neat. I currently use Youlean Loudness meter, nice that The Focusrite plugin gives some feedback on the actual dynamics with warnings. It seems that the threshold for “Loudness range = good” is at 5 Lu or higher. Very useful as I intend to obsess with numbers when I compare different versions of my own tunes.
Hey, thanks for the video, it's was entertaining and interesting :)
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The -1dfbs recommendation is clearly for compensating the present lossy codecs deficiencies. I don't think mastering for a problem that won't exist in some years (and isn't that dramatic on most systems) is the best strategy in the long run.
@@Moootin no. everybody can hear the difference. the problem is that most people drown themselves in shitty sound and have no idea what real music can sound like because they don’t know that it exists.
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@@Positive_Tea I definitely don't see that in most releases! -8 LUFS is indeed in the ballpark of most mainstream songs today, but that number has nothing to do with the peaks you aim for. In fact, I don't know where have you seen the -1dbfs in the lizzo release (maybe in the single release?) Just checked the peak level of About Time on Apple Music playing at 44,1kHz/24bit, and there are intersample peaks even above 0dbfs. That obviously indicates that the mastering engineer didn't take into account intersample peaks, and that is what the -1dbfs recommendation is about. In my experience with awarded professional mastering engineers has been the same. Most of them don't care about ISP, so even less about the -1dbf recommendation. You can see that clearly in this data for the latest Lizzo release you were talking about: Edited: I previously posted the stats for her 2019 album by accident. Couldn't find the full 2022 album data but here's the single's data for the album version. Further data from iZotope RX shows the album was mastered at 0dB peak, with inter samples peaks as high as +0,95dB. I doubled checked and these are the same numbers as Tidal and Apple Music Hi-Res and Hi-Fi releases. ---------------------------------------------------------------------------------------------- LUFS Peak RMS Filename ---------------------------------------------------------------------------------------------- -9 LUFS +0,95dB -7,78 dB 02 About Damn Time.flac
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@@Moootin It's not about hearing it or not. Lossy codecs as mp3 and AAC certainly do a great job removing "unnecessary" information that our brain can fill in, but they too induce distortion by making the audio peak above 0dB. That's technically very bad as you may know. You may not hear it, but your brain does, some argue that lossy codecs are more fatiguing because of reasons like this, apart from the fact that they make your brain work harder.
I recently bought the Sonible bundle (btw, thanks to your videos I learned about them!). And I'm completely blown away by these plugins. I still try to incorporate them well into my workflow, because even thought the AI is top notch, it can sometimes feel a bit 'over the top' or work not exactly as I usually would. Also it has a lot of functions that I don't entirely understand even after playing around and reading the manuals for a long time (for example in smart:comp) and those plugins can clash with my own vision when I have a specific idea for the mix. But overall it speeds up the balancing of the mixes a lot, even thought I feel like the learning curve is pretty steep (at least for me) and it kinda forces me to work and think about mixing differently than what I'm used to. I was actually wondering whether I should buy the Focusrite FAST bundle or the Sonible one, but Sonible won for me as it has a better adjustability and seems to be the OG (because Focusrite uses their algorhythms) and thus seem more reliable (in my personal opinion). PS: If anyone has any tips about the efficient smart plugins workflow, or want to share their own way of working with them, I'd appreciate it! :)
Machine learning (A.I.) is going to completely transform music production in the next few years. You'll throw all of your elements into your DAW and the algorithm will evaluate each track, prep each track and do all of the low-level work to get the mix ready for you. And after it studies your workflow, it'll start making decisions you'd be making anyway. It'll become the assistant you always wanted, because it'll be complimentary to your working style.
@@TheChromaticz355 I have loads of Izotope software and its good for sure. They do still have a road a head in terms of creating AI's that can generate elements of a track.
I have received the FAST Balancer for free as a Focusrite interface owner. I find it pretty musical, but still not sure if I'll regularly use it in my workflow. Maybe when I'll move from producing to mixing stage on my track I will test it deeper.
Made some tests and my conclusion is: FAST is BETTER than Fab Filter, but Ozone Maximizer still handling the pressure better. I work with electronic music, so the modes from Ozone are still better in this kind of track. For sure will do some more tests, but I'm considering to replace the L-2 with this big boy. Thx for showing us.
I'm an idiot and bought the bundle when I saw this video. I didn't realise they're essentially sonible powered plugins and I have the sonible versions already. Doh!
_"well, you can perfect your tracks and . . . "_ As a verb it is pronounced 'per-FECT' (like two separate sounds/words) - as an adjective it is pronounced 'perfect' (one sound/word).
Would really like to see it in Plugin Doctor to see what it actually does and if there are any artifacts, phase issues, or any of that Jazz. Also compare it to other plugins with a similar outcome.
Or you can use your ears, ohh I forgot people nowadays mix with their eyes instead of their ears. A couple of tips: If two plugins null each other they still can sound extremely diffrent, why? Because the stupid Plugin doctor handle the signal as it´s static and music isn´t static. So the rate of the transients could be totally different and therefore the plugins sound equally different. Ok, there´s a phase mode, but what do you do with that? Watch it, and then? So throw that stupid toy for little (and severely stupid) children in the bin and start listening!
Your Studio sounds so perfectly dry. I use headphones and your voice is so direct and crystal clean and clear. I wish i have someday a room that's somewhere near like yours. My room is relatively dry, but nothing in comparison to yours. You did a very good job there. Do you only do mastering or do you also do mixdowns? Because i struggle, because my "speakers" can't reproduce BASS and i mean lifelike bass. I can’t tell if my bass is mixed correctly and/or if if have too much bass.
Hes a 'youtube engineer', its all for youtube. The music and projects he showcases in his videos arent his projects or clients', he uses music thats already mastered, and stems that are already mixed, and hides the actual credits behind a sandstorm joke. Its gotten him quite abit of hate on forums and elsewhere on the net. He is an entertainer/personality. Im still a regular viewer, its entertaining at least
I'm really curios about a comparison of the focusrite fast bundle and the sonible products.... Just wondering, how much sonible is sharing their algorithms... or how much they differ.
My mixes dont need fancy limiters anymore since I can hit really high RMS in the mix. All i need is some color/glue/polish and I think this could help with that.
Another great Vid )) Hows about putting any vocal Templates for Reaper ? Always can find for other Daws but never seem to find any for Reaper , Keep up the great work ))
The -1TP is just a very generalized rule, where someone thinks that the probability of codec peaks (due to compressing) is lower, the lower the TP is. That doesn't mean, that the song you just mastered, has any problem at -0.1TP. Its just generalized Blabla. It could be that there is not a single compression issue. My go to is to check if it works as mp3 and if yes, then I stay at -0.2. I also don't give a sh*t what happens to my track if they compress it down to 128kbps or any other low quality format, because then it will sound sh*t anyway.
Correct. -1TP is *not* a requirement. And for MFiT/Apple Digital Masters, checking it, even auditioning it, via Apple's AAC+ encoder will tell you straight up if it's going to clip or not. The "danger" is really subsequent processing causing clipping of already lossy tracks.
Simply can't buy in Belgium.... payment page not works with Belgian card reader page but they never managed to fix it. If you're in Belgium and managed to buy the fast bundle please let me know how 🤔
As a Novation owner, good deal I think, but I have so many limiters I just ignored. I have Sonible everything, Softube Weiss, Fabfilter, Newfangled etc, etc. It's plugin overload these days. :/ ....BUT, you inspired me to give a try.
I am wondering why focusrite decide to rule out some countries from buying their fast bundle plugins. I like the plugins but can't get it. Do you know why?
Looks like in future we will have limiters which contain a whole mastering chain look at this one it has saturation, Resonance suppression and other stuff in front of these other limiters look like oldies
I can understand that because I had the chance to try it, and it kills any other limiter plugin in the world. The only issue I know about it is that Softube forgot to put a limiter on its pricing.
I didn't know it at the time but Ozone 9 suggested -1db and I put it to -.01....I figured why not? Sounds good on streaming platforms and not sure what they did to it. "BELOVED HYPOCRISY" by "WE SUCK AS HUMANS" ROCK IT OUT!
I always wonder why everybody in Industry looks for Limiting/Max. more than Mastering the EQing. I think, for Mastering it is way more important to have an Aspect based EQ that gives the Musik some kind of push - more Brilliance, Kontrast, Bass, Subbass, and so on. Something that change the Quality of the mix into a "better" Sounding endresult by a working algorithmik that use (a LOT) Modern Genres and Subgenres as orientation for its settings. So that the Plugin recognize most common technical Issures and also create a very good EQing and Multiband correction to a specific Output Gain and Compression Setting. So that i can type in -6 Lufs, this that and this if needed - and perhaps a reference Track AND Streaming Portal settings. And then the "Soundplugin" is going to make the Sound realy Sound better. In a way that works. With a Setting that gives access to a automatic gain correction Saturation, Drive, Exiter/Aural and so on feature that can transform the Color of the Track to something that Sound like a true Analog Mojo. With only a few knobs. Resulting in a feeling of more Deapth, Widness, clearity and Brillance, power and crispiness - without overdoing things. And always be musical. In Reference to the goal Settings. Correction perhaps by Fletscher / Mundson Curve. And so on.. yes it sounds a bit like Ozone.. but it should not be so complex. Perhaps with a small KI within that is able to understand what sounds realy good. One Plugin with easy design. Not a Wall of knobs. But something that is working in a way that you klick Analyse - the result will push the Quality of Sound. Without making it harsh or painfull to listen. And the Limiting just will be a one Knob that is called Fast, Complex or Slow so that you just can move between and Listen. Always auto correct Volumes - in a way that it will recognize Problems by extrem Settings. But the given auto Settings are so well, that you will find it pretty hard to make it even better. Lets say that track needs to be played on Clubs, or Festivals, or by Radio or Hifi, that Plugin gets that information from the user by Design / Setting and gives a change that will work for that Location in a typical way. When its needed. That would be cool.. lets face the truth, the main problem of many Home Masterings is the bad Listening Situation. Cheap speakers and a bad Room. Perhaps its good for Mixing - doesnt mean it gives a good respone for Mastering. So the Plugin has to realize that, and interact with that situation positive. Using Spectral Multiband realtime correction. Perhaps by typing in your basic Roomsize. That it will know - oh room has a problem Freq. around 84,2 Hz becourse of that Size. Lets push that Freq down by 1db to compensate the Room resonance. That will be in the Mix by nature. That kind of "Mastering" workflow would be more effective than just dumb limiting. Or a resonance automatic Eq/Comp. based on that works on the Room Resonance. And stuff like "Blank Wall" or "Carpet" just to give advice to push and cut frequencys in a way that compensate Room Problems in a good way. With the Choice to enable or disable Room Correction Settings for a/b Reference.
Good video and it brings me back to something I've been meaning to ask you to do a video about if possible. How best to achieve a -1.0 true peak and close to 13-14 LUFS limiter output? I just can't seem to reel it in. Thanks Wytse!
I find the balance through adjusting my threshold and output gain. If I'm over my dBTP, then I reduce my output. If my lufs have now gone too high, back off the threshold, and keep playing that game until I get values where I want them.
The Sonible & Focusrite collaboration is cool BUT even the free stuff needs to be activated via account & online connection. I work off line so they aren't much use to me.
Great video. Interesting that you are just adjusting "fresh' here-ON THE FLY-as opposed again to using a "Reference Track." It seems that more and more music apps are beginning to have more visual interfaces like Photoshop, much more user-friendly and fun than "watching the numbers." Thanks.
The problem with these systems is total absence of musical context. Even in pro mastering, limiting is rarely added without hearing the whole the context of all preceding processing.
Loud mixdowns aren't necessarily low quality by any stretch of the imagination. Many Bass Music producers hit -4 LUFs and it sounds f'ing fantastic with very little distortion. Sure, it's a brick... but that's the mixing, arrangement, and sound selection. Their tracks would sound almost the same at -14 LUFs... and that's a fact.
yea true, loudness becomes less of an issue if you approach it as a mix issue instead of trying to fix it in the master. Making an overly dynamic mix loud in the master with a single limiter, is like trying to balance the spectrum of your track with a single EQ on the master, even the most advanced dynamic eq is going to have a hard time making that happen.
@@meis18mofo77 Exactly... it takes a lot of really deliberate decisions along the way to make it work and sound good. Lots of little gains all over the place is the key, not just slapping a limiter on the 2-bus like you say. The conversation gets old to be honest lol. Cheers.
Dude, check out sonible's smart limiter! For what it's worth, I've had a really great experience so far, and I am usually very skeptical of this kind of AI/ machine learning stuff.
Whenever you play some music, I'm shocked because I feel like in the beautiful old days, when music was music, not the shit as it is today. I don't find it anywhere on yt. Keep it up. Best regards. :)
As a Sonible Bundle Owner there is of course no need for this, but it's great that a big Company use their Algorytm and make this great (Austrian) Company more known...btw i am Austrian..;)
I'm really curious that as a producer (and not a mastering engineer) I like loudness for techno. Often times when a track is put together and arranged I will often get lufs of between 8 to 10 before even throwing on a limiter. And even then I won't push it much further as the mix and arrangement was done properly. So what you're saying is that's low quality audio? Thats an interesting claim.
The thing is that, in dance music in general, transients matter WAY more than loudness, since it's the transients that define the groove, the very thing that makes music danceable. Any worry that your audio files won't be "loud" enough should be rendered null when played on a PA system. Heck, if anything, incoming audio that's too loud will actually risk damaging those speakers permanently, which is why live engineers have so little patience for EDM and Bass DJs. Basically, PA systems are better equipped to handle transients that go well above 0dB, than they can handle a sustained hum that's constantly just below 0dB
@@UnfortunatelyTheHunger Thx for the details, and makes sense from a physics perspective. However I don't buy the claim that high loudness means low "quality." I've analyzed 100s of tracks which can be as loud as 6 LUFS and they still sound "quality" to me. So not all people look at loudness as a war, but instead as a creative tool. I think my argument is its subjective and it's the listener, in the end, who matters most. Sorry about your speakers ;).
It is snake oil, I have it. But on sale (let's say Black Friday) it can be a tool helping you gain time in some situations. But absolutely not worth its full price, imho.
I bought it on sale and I really love it. Some of the presets can only really be achieved with more expensive alternatives. And other than that it's just fun to use and inspiring.
Don’t know if it’s the nature of the track but there wasn’t much audible difference even at very hard settings. I can’t hear any increase in perceived volume (thus no artefacts or distortion). Isn’t it the goal of a limiter usually? 🙃
I think there's a growing tendency to stick AI in the description of everything, as most people don't actually know what AI is, but it sounds cool. Marketing departments to blame as usual I expect.🤨
I genuinely don't see the benefit with this compared to FF. Also I'm a mastering engineer. Only thing I need for limiters is auto gain compensation for listening and tweakability which FF already has alot of. I wanna set the limiting to my taste and I don't think anyone needs assistance if they actually listen with autogain engaged.
Focusrite wants $359.00 USD for this limiter or act now and get it for a limited time price of $125.00 USD! I love the interface of this limiter but I already on Fabfilter L2. 🤨
Your reviews are slowly becoming less interesting to watch. Clicking all over the place. Rapidly going from 0 to 100, swiping left & right. It leaves very little room to listen carefully. For a limiter demo it's also nice to hear different styles of music instead of just one (flat sounding) tune.
I am loving the the fast bundle. It really lives up to its name. One weird use I've found for the fast limiter is to put it on my vocal buss and use the resonance supressor to clean it up and the saturation to warm it up. It works great for that. I use TDR Limiter No.6 for my mastering limiter because I do mostly production. It's the lowest latency limiter I have been able to find and I need that so my workflow doesn't get interrupted by delayed playback while I'm producing.
This was a bit rushed for my tiny, inexperienced brain to follow completely; but there was enough there for me to see that this makes it very easy to do some things that I want to be doing! So, thank you very much! I'll look into it a bit more.
Get a pair of 20/20 cans without too much impedance, and they should make your brain experienced [enough].
most important thing I care about when choosing a plugin is sound quality
every other thing like AI, user interface and others should just be a compliment
thanks for the videos❤️
I’m floored as how good this is for an initial launch
Loud can be done in a quality way, if you know what you’re doing.
Not really if we’re talking about sound clarity and dynamic range🤷♂️ modern pop music is more distorted than the old Rocknroll records
I had a period where I hated many plugin companies, but with these newer high quality plugins upping the ante, I'm slowly leaving that phase.
I would like a head to head comparison with the Smart Limiter, Fabfilter L2 and this Fast Limiter
Also NewFangled Audio's "Elevate."
@@agapeleone5847 yes. Elevate puts a lot of limiter to shame
@@DJayFreeDoo my *very 'limited'* understanding is that it is the best. But... idk. ProL2 is also very great. I am very curious about the new Fast Limiter and how it holds up among these...
@@DJayFreeDoo ....I know I really dig the intricate SEVERAL BAND transient adjusters AND it brings a lot of clarity at high levels with relative ease. L2 is extremely solid... but it's tough for me between those two. The multi (and I mean MANY multi) band transient adjustment alone is a CRAZY advantage.
I did a blind A/B (with Hofa Blindtest) and This blew Smart:limiter out of the water.
yah I love this , been using it since release. Also been watching your channel for a while now . Subscribed ! -cheers from Canada
Such a beautiful track lovee itttt
Your videos are great! So informative! Also, I love your nails and hair. ;)
This is exactly what I needed 💪
I usually find myself reaching for a clipper or compressor rather than a limiter. It would be cool to see a good clipper that works similarly. I would like to see detailed tooltips explaining exactly what parameters are doing, or maybe a middle mouse button opening the manual for that specific thing. While I'm all for using AI stuff, I would like to understand exactly what it is doing so I can have a more precise level of control
Newfangled Saturate is a pretty detailed clipper with a lot of unique options
Flatline is my favourite clipper for that
Wouldn't a ITB Clipper have aliasing vs clipping Mastering Converters?
@@stayinspired2027 yes but there are things like oversampling that can help. its still better than buying 64 identical pieces of hardware
most powerful focusrite plugins ever made
Looks like a very cool limiter. I usually don't get excited about limiters but this one makes me want to check it out. Really like the payment plan to own.
Wowowow! Man, thanks.
That plugin looks neat. I currently use Youlean Loudness meter, nice that The Focusrite plugin gives some feedback on the actual dynamics with warnings. It seems that the threshold for “Loudness range = good” is at 5 Lu or higher. Very useful as I intend to obsess with numbers when I compare different versions of my own tunes.
BUYIN IT The Monthly Way Right Now... Just Because Of The MINUS 1 Set Point Settings.👍🏽👍🏽 Thank You.
Hey, thanks for the video, it's was entertaining and interesting :)
The -1dfbs recommendation is clearly for compensating the present lossy codecs deficiencies. I don't think mastering for a problem that won't exist in some years (and isn't that dramatic on most systems) is the best strategy in the long run.
Who cares about this -1.0 dbfs limit? It’s nearly inaudible and this kind of treatment is „repairable“ when you just put 1db on top
Interesting take. But I guess only audio-lovers will even hear (if they really, I don’t) and appreciate quality over let’s say 192 kbps MP3.
@@Moootin no. everybody can hear the difference. the problem is that most people drown themselves in shitty sound and have no idea what real music can sound like because they don’t know that it exists.
@@Positive_Tea I definitely don't see that in most releases! -8 LUFS is indeed in the ballpark of most mainstream songs today, but that number has nothing to do with the peaks you aim for. In fact, I don't know where have you seen the -1dbfs in the lizzo release (maybe in the single release?) Just checked the peak level of About Time on Apple Music playing at 44,1kHz/24bit, and there are intersample peaks even above 0dbfs. That obviously indicates that the mastering engineer didn't take into account intersample peaks, and that is what the -1dbfs recommendation is about. In my experience with awarded professional mastering engineers has been the same. Most of them don't care about ISP, so even less about the -1dbf recommendation. You can see that clearly in this data for the latest Lizzo release you were talking about:
Edited: I previously posted the stats for her 2019 album by accident. Couldn't find the full 2022 album data but here's the single's data for the album version. Further data from iZotope RX shows the album was mastered at 0dB peak, with inter samples peaks as high as +0,95dB. I doubled checked and these are the same numbers as Tidal and Apple Music Hi-Res and Hi-Fi releases.
----------------------------------------------------------------------------------------------
LUFS Peak RMS Filename
----------------------------------------------------------------------------------------------
-9 LUFS +0,95dB -7,78 dB 02 About Damn Time.flac
@@Moootin It's not about hearing it or not. Lossy codecs as mp3 and AAC certainly do a great job removing "unnecessary" information that our brain can fill in, but they too induce distortion by making the audio peak above 0dB. That's technically very bad as you may know. You may not hear it, but your brain does, some argue that lossy codecs are more fatiguing because of reasons like this, apart from the fact that they make your brain work harder.
I recently bought the Sonible bundle (btw, thanks to your videos I learned about them!). And I'm completely blown away by these plugins. I still try to incorporate them well into my workflow, because even thought the AI is top notch, it can sometimes feel a bit 'over the top' or work not exactly as I usually would. Also it has a lot of functions that I don't entirely understand even after playing around and reading the manuals for a long time (for example in smart:comp) and those plugins can clash with my own vision when I have a specific idea for the mix. But overall it speeds up the balancing of the mixes a lot, even thought I feel like the learning curve is pretty steep (at least for me) and it kinda forces me to work and think about mixing differently than what I'm used to.
I was actually wondering whether I should buy the Focusrite FAST bundle or the Sonible one, but Sonible won for me as it has a better adjustability and seems to be the OG (because Focusrite uses their algorhythms) and thus seem more reliable (in my personal opinion).
PS: If anyone has any tips about the efficient smart plugins workflow, or want to share their own way of working with them, I'd appreciate it! :)
I really like the smart comp and just made a long video about it on my channel. So check it out if you’re interested.
@@LanewoodStudios Hey! I actually watched your video some time ago after I bought the bundle :) It's a good one!
@@THAMNOS Thanks 😊
AWESOME !
this is cool ,nice one
smart limiter vs fast limiter comparison?
Are they the same?
Machine learning (A.I.) is going to completely transform music production in the next few years. You'll throw all of your elements into your DAW and the algorithm will evaluate each track, prep each track and do all of the low-level work to get the mix ready for you. And after it studies your workflow, it'll start making decisions you'd be making anyway. It'll become the assistant you always wanted, because it'll be complimentary to your working style.
Do you know of any upcoming tech that cn do this?
@@petter9078 izotope is getting closer!
@@TheChromaticz355 I have loads of Izotope software and its good for sure. They do still have a road a head in terms of creating AI's that can generate elements of a track.
Sonible majes some outstanding useful plug-ins!
Great video. Btw, is the nail colors to remember daw shortcuts? 😊👌👌
Slowly but certainly, Fabfilter has become like ‘Intel’ of the plugin scene.
I have received the FAST Balancer for free as a Focusrite interface owner. I find it pretty musical, but still not sure if I'll regularly use it in my workflow. Maybe when I'll move from producing to mixing stage on my track I will test it deeper.
Made some tests and my conclusion is:
FAST is BETTER than Fab Filter, but Ozone Maximizer still handling the pressure better. I work with electronic music, so the modes from Ozone are still better in this kind of track. For sure will do some more tests, but I'm considering to replace the L-2 with this big boy. Thx for showing us.
I'm an idiot and bought the bundle when I saw this video. I didn't realise they're essentially sonible powered plugins and I have the sonible versions already. Doh!
I love the Sonible limiter
When I wanted to buy this plugin, their shop told me that they can't sell it in my country. I live in Switzerland and now am using the SSL X-Limit ;-)
_"well, you can perfect your tracks and . . . "_
As a verb it is pronounced 'per-FECT' (like two separate sounds/words) - as an adjective it is pronounced 'perfect' (one sound/word).
Another great video, Wytse. Between this one and smart:limit, which to you prefer?
These are the kind of sandstorm references i want😁
Would really like to see it in Plugin Doctor to see what it actually does and if there are any artifacts, phase issues, or any of that Jazz. Also compare it to other plugins with a similar outcome.
Or you can use your ears, ohh I forgot people nowadays mix with their eyes instead of their ears. A couple of tips: If two plugins null each other they still can sound extremely diffrent, why? Because the stupid Plugin doctor handle the signal as it´s static and music isn´t static. So the rate of the transients could be totally different and therefore the plugins sound equally different. Ok, there´s a phase mode, but what do you do with that? Watch it, and then? So throw that stupid toy for little (and severely stupid) children in the bin and start listening!
Your Studio sounds so perfectly dry. I use headphones and your voice is so direct and crystal clean and clear.
I wish i have someday a room that's somewhere near like yours. My room is relatively dry, but nothing in comparison to yours.
You did a very good job there. Do you only do mastering or do you also do mixdowns? Because i struggle, because my "speakers" can't reproduce BASS and i mean lifelike bass. I can’t tell if my bass is mixed correctly and/or if if have too much bass.
Hes a 'youtube engineer', its all for youtube. The music and projects he showcases in his videos arent his projects or clients', he uses music thats already mastered, and stems that are already mixed, and hides the actual credits behind a sandstorm joke. Its gotten him quite abit of hate on forums and elsewhere on the net. He is an entertainer/personality. Im still a regular viewer, its entertaining at least
I'm really curios about a comparison of the focusrite fast bundle and the sonible products.... Just wondering, how much sonible is sharing their algorithms... or how much they differ.
My mixes dont need fancy limiters anymore since I can hit really high RMS in the mix. All i need is some color/glue/polish and I think this could help with that.
Are you familiar with Newfangled Audio's Elevate? If so, how would you say this compares?
Another great Vid )) Hows about putting any vocal Templates for Reaper ? Always can find for other Daws but never seem to find any for Reaper , Keep up the great work ))
"wow!" 😂😂 iconic.
The -1TP is just a very generalized rule, where someone thinks that the probability of codec peaks (due to compressing) is lower, the lower the TP is. That doesn't mean, that the song you just mastered, has any problem at -0.1TP. Its just generalized Blabla. It could be that there is not a single compression issue. My go to is to check if it works as mp3 and if yes, then I stay at -0.2. I also don't give a sh*t what happens to my track if they compress it down to 128kbps or any other low quality format, because then it will sound sh*t anyway.
Correct. -1TP is *not* a requirement. And for MFiT/Apple Digital Masters, checking it, even auditioning it, via Apple's AAC+ encoder will tell you straight up if it's going to clip or not.
The "danger" is really subsequent processing causing clipping of already lossy tracks.
Simply can't buy in Belgium.... payment page not works with Belgian card reader page but they never managed to fix it. If you're in Belgium and managed to buy the fast bundle please let me know how 🤔
I recently bought some SSL plugins, Native EQ included. Can you please do a review of the SSL plugins by SSL?
How would you compare it to smartlimit?
As a Novation owner, good deal I think, but I have so many limiters I just ignored. I have Sonible everything, Softube Weiss, Fabfilter, Newfangled etc, etc. It's plugin overload these days. :/ ....BUT, you inspired me to give a try.
with sonible/kirchoff.. i just wonder what would be the features in pro q4/pro l3 /pro c3
fabfilter finally has a serious competitor.
They have the right type of subscriptions. Low payments that pay it off. makes us say ok 👌
Why installing this, since it's sonibles (smart limit) stuff under the hood?
I am wondering why focusrite decide to rule out some countries from buying their fast bundle plugins. I like the plugins but can't get it. Do you know why?
Looks like in future we will have limiters which contain a whole mastering chain look at this one it has saturation, Resonance suppression and other stuff in front of these other limiters look like oldies
I used to use the FF ProL2 for about every project, until I came across the Softube Weiss maximiser/DS2 and I’ve never looked back!
I can understand that because I had the chance to try it, and it kills any other limiter plugin in the world. The only issue I know about it is that Softube forgot to put a limiter on its pricing.
Wow done
I didn't know it at the time but Ozone 9 suggested -1db and I put it to -.01....I figured why not? Sounds good on streaming platforms and not sure what they did to it. "BELOVED HYPOCRISY" by "WE SUCK AS HUMANS" ROCK IT OUT!
I am still waiting for a limiter plugin to have an A&R pitching preset.
it is the twin of Smartlimiter of Sonible, they have already collaborated together, especially on Balancer, from memory. Tx for the test !
I always wonder why everybody in Industry looks for Limiting/Max. more than Mastering the EQing. I think, for Mastering it is way more important to have an Aspect based EQ that gives the Musik some kind of push - more Brilliance, Kontrast, Bass, Subbass, and so on. Something that change the Quality of the mix into a "better" Sounding endresult by a working algorithmik that use (a LOT) Modern Genres and Subgenres as orientation for its settings. So that the Plugin recognize most common technical Issures and also create a very good EQing and Multiband correction to a specific Output Gain and Compression Setting. So that i can type in -6 Lufs, this that and this if needed - and perhaps a reference Track AND Streaming Portal settings. And then the "Soundplugin" is going to make the Sound realy Sound better. In a way that works. With a Setting that gives access to a automatic gain correction Saturation, Drive, Exiter/Aural and so on feature that can transform the Color of the Track to something that Sound like a true Analog Mojo. With only a few knobs. Resulting in a feeling of more Deapth, Widness, clearity and Brillance, power and crispiness - without overdoing things. And always be musical. In Reference to the goal Settings. Correction perhaps by Fletscher / Mundson Curve. And so on.. yes it sounds a bit like Ozone.. but it should not be so complex. Perhaps with a small KI within that is able to understand what sounds realy good. One Plugin with easy design. Not a Wall of knobs. But something that is working in a way that you klick Analyse - the result will push the Quality of Sound. Without making it harsh or painfull to listen. And the Limiting just will be a one Knob that is called Fast, Complex or Slow so that you just can move between and Listen. Always auto correct Volumes - in a way that it will recognize Problems by extrem Settings. But the given auto Settings are so well, that you will find it pretty hard to make it even better. Lets say that track needs to be played on Clubs, or Festivals, or by Radio or Hifi, that Plugin gets that information from the user by Design / Setting and gives a change that will work for that Location in a typical way. When its needed. That would be cool.. lets face the truth, the main problem of many Home Masterings is the bad Listening Situation. Cheap speakers and a bad Room. Perhaps its good for Mixing - doesnt mean it gives a good respone for Mastering. So the Plugin has to realize that, and interact with that situation positive. Using Spectral Multiband realtime correction. Perhaps by typing in your basic Roomsize. That it will know - oh room has a problem Freq. around 84,2 Hz becourse of that Size. Lets push that Freq down by 1db to compensate the Room resonance. That will be in the Mix by nature. That kind of "Mastering" workflow would be more effective than just dumb limiting. Or a resonance automatic Eq/Comp. based on that works on the Room Resonance. And stuff like "Blank Wall" or "Carpet" just to give advice to push and cut frequencys in a way that compensate Room Problems in a good way. With the Choice to enable or disable Room Correction Settings for a/b Reference.
This is not s very musical idea tbh
Good video and it brings me back to something I've been meaning to ask you to do a video about if possible. How best to achieve a -1.0 true peak and close to 13-14 LUFS limiter output? I just can't seem to reel it in. Thanks Wytse!
I find the balance through adjusting my threshold and output gain. If I'm over my dBTP, then I reduce my output. If my lufs have now gone too high, back off the threshold, and keep playing that game until I get values where I want them.
@@seanedwards94 Cheers.
It's the little brother of the Smart:limiter from Sonible, isn't it?
Totally
I think I heard Darude at Electronicon 3 this past weekend =D
I have his phone number.(not joking)…
Focusrite Fast plugins or Ozone and Neutron's Master Assistant?
I think when you chose a mode then you need ro relearn, at least it is how the other plugins in the collection works.
these are the same as sonible with the focusrite name slapped on??? its cheaper for me to buy the focusrite bundle then from sonible.
The Sonible & Focusrite collaboration is cool BUT even the free stuff needs to be activated via account & online connection. I work off line so they aren't much use to me.
Is this similar with Sonible Smart limiter ?
Great video. Interesting that you are just adjusting "fresh' here-ON THE FLY-as opposed again to using a "Reference Track." It seems that more and more music apps are beginning to have more visual interfaces like Photoshop, much more user-friendly and fun than "watching the numbers." Thanks.
The problem with these systems is total absence of musical context. Even in pro mastering, limiting is rarely added without hearing the whole the context of all preceding processing.
please make a sonible vs fabfilter video!!
Loud mixdowns aren't necessarily low quality by any stretch of the imagination.
Many Bass Music producers hit -4 LUFs and it sounds f'ing fantastic with very little distortion.
Sure, it's a brick... but that's the mixing, arrangement, and sound selection.
Their tracks would sound almost the same at -14 LUFs... and that's a fact.
yea true, loudness becomes less of an issue if you approach it as a mix issue instead of trying to fix it in the master. Making an overly dynamic mix loud in the master with a single limiter, is like trying to balance the spectrum of your track with a single EQ on the master, even the most advanced dynamic eq is going to have a hard time making that happen.
@@meis18mofo77 Exactly... it takes a lot of really deliberate decisions along the way to make it work and sound good. Lots of little gains all over the place is the key, not just slapping a limiter on the 2-bus like you say. The conversation gets old to be honest lol. Cheers.
Ah! I just got why it's called "White Sea" studio, cause of your name. That only took me a year...
Dude, check out sonible's smart limiter! For what it's worth, I've had a really great experience so far, and I am usually very skeptical of this kind of AI/ machine learning stuff.
Automatic loudness compensation would have been a plus.
"not doing a lot on the transients"
???
that difference was massive!
Seems like they have modelled the Sonible Smart:Limit....
Whenever you play some music, I'm shocked because I feel like in the beautiful old days, when music was music, not the shit as it is today. I don't find it anywhere on yt. Keep it up. Best regards. :)
Cool story grandma
What about the oversampling?
Why not go right to the source and use the Sonible Smart Limiter instead?
Don’t know whether to grab these or just stick with the Sonible stuff. Seems a bit silly to have both.
🧨
I'm thinking Pro L3 and Pro C3 are gonna be epic....
As a Sonible Bundle Owner there is of course no need for this, but it's great that a big Company use their Algorytm and make this great (Austrian) Company more known...btw i am Austrian..;)
This is WAY better than Smart:Limit. Try it out.
I guess focusrite white labeled sonible smartlimiter and changed the GUI slightly
Nope. It's a different beast. I'm sure we'll see the features added to smart limit 2.0.
I'm really curious that as a producer (and not a mastering engineer) I like loudness for techno. Often times when a track is put together and arranged I will often get lufs of between 8 to 10 before even throwing on a limiter. And even then I won't push it much further as the mix and arrangement was done properly. So what you're saying is that's low quality audio? Thats an interesting claim.
The thing is that, in dance music in general, transients matter WAY more than loudness, since it's the transients that define the groove, the very thing that makes music danceable. Any worry that your audio files won't be "loud" enough should be rendered null when played on a PA system. Heck, if anything, incoming audio that's too loud will actually risk damaging those speakers permanently, which is why live engineers have so little patience for EDM and Bass DJs. Basically, PA systems are better equipped to handle transients that go well above 0dB, than they can handle a sustained hum that's constantly just below 0dB
@@UnfortunatelyTheHunger Thx for the details, and makes sense from a physics perspective. However I don't buy the claim that high loudness means low "quality." I've analyzed 100s of tracks which can be as loud as 6 LUFS and they still sound "quality" to me. So not all people look at loudness as a war, but instead as a creative tool. I think my argument is its subjective and it's the listener, in the end, who matters most. Sorry about your speakers ;).
Why not just go right for Sonible Smart Limit? It looks like it's functionally the same with a (not as pretty) re-skinning.
I master with
Acustica Audio White 3
And master my mixes with Plugin Alliance
Amek 250....
sonible have their own smart plugins aswell as the focusrite fast ones, very strange seems sonible is a bit deeper...
Is Tonex from IK Multimedia Snake Oil? Let’s find out!
I see it’s by Sonible…would you use this over smart limiter? I love smart limiter 🙂
Good question!
Smart limiter is nice but it forces true peak limiting. I bought it but its collecting dust because i hate the sound of TP limiting.
@@entity9588 can you elaborate on that sound vs what you prefer?
@@seanedwards94 It tends to make the stereo image smaller and sounds more compressed.
& here I am actively turning mixes down
can you take a look at the plugin Transmutator for a snake oil video
It is snake oil, I have it. But on sale (let's say Black Friday) it can be a tool helping you gain time in some situations. But absolutely not worth its full price, imho.
I bought it on sale and I really love it. Some of the presets can only really be achieved with more expensive alternatives. And other than that it's just fun to use and inspiring.
Don’t know if it’s the nature of the track but there wasn’t much audible difference even at very hard settings. I can’t hear any increase in perceived volume (thus no artefacts or distortion). Isn’t it the goal of a limiter usually? 🙃
As far as my personal philosophy for mastering is concerned, yes.
Hi, can you try Lin76 by lindel audio ? Please :)
When you have too many plugins, but don't know which ones to use on your mix
Time to start mixing and see how they fit in your workflow!
I think there's a growing tendency to stick AI in the description of everything, as most people don't actually know what AI is, but it sounds cool. Marketing departments to blame as usual I expect.🤨
I genuinely don't see the benefit with this compared to FF. Also I'm a mastering engineer. Only thing I need for limiters is auto gain compensation for listening and tweakability which FF already has alot of. I wanna set the limiting to my taste and I don't think anyone needs assistance if they actually listen with autogain engaged.
Focusrite wants $359.00 USD for this limiter or act now and get it for a limited time price of $125.00 USD! I love the interface of this limiter but I already on Fabfilter L2. 🤨
I'd buy SmartLimit, if I didn't already own SmartLimit.
Your reviews are slowly becoming less interesting to watch. Clicking all over the place. Rapidly going from 0 to 100, swiping left & right. It leaves very little room to listen carefully. For a limiter demo it's also nice to hear different styles of music instead of just one (flat sounding) tune.